…The minor characters are all well-drawn, but "The
Dresser" is essentially the story of two people, and the movie has been
well-cast to make the most of both of them; no wonder both actors won Oscar
nominations. Norman is played by Tom Courtenay, who had the role on stage in London and
New York and will also be remembered from all those British Angry Young Men
films like "Billy Liar" and "The Loneliness of the Long Distance
Runner." He is perfect for playing proud, resentful, self-doubting
outsiders.

Sir is played by Albert Finney, who manages to look far older than his
forty-seven years and yet to create a physical bravura that's ideal for the
role. When he shouts "Stop ... that ... train!" we are not too
surprised when the train stops.

On the surface, the movie is a wonderful collection of
theatrical lore, detail, and superstition (such as the belief that it is bad
luck to say the name "Macbeth"
aloud -- safer to refer always to "the Scottish tragedy"). The
physical details of makeup and costuming are dwelled on, and there is a great
backstage moment when the primitive thunder machine is rattled to make a storm.

Beneath those details, though, a human relationship
arrives at a crisis point and is resolved, in a way. Sir and Norman come to the
end of their long road together, and, as is the way with enablers and enabled,
Norman finally understands the real nature of their relationship, while Sir, of
course, can hardly be bothered. This is the best sort of drama, fascinating us
on the surface with color and humor and esoteric detail, and then revealing the
truth underneath.